A recurring feature of recent initiatives is to be self-funded or to operate with a minimum level of government funding and frequently to begin with a limited time frame in mind. The social side of such organisations cannot be underestimated and is probably as important as any art that eventuates.
"If you are real lucky you got CDEP or your are making it selling your art and then you got a good art centre too, maybe. If you are real lucky just when you turn up with a couple of week's art production, maybe yours, maybe the families, the centre's got cash, no one's a bastard, everyone's happy, the store has even got some decent food, even new bikes, toy guns, tape decks and a few tins of Log Cabin. Shit, life's good - sometimes anyway." A personal view of art making in indigenous communities.
Operating both as an industry training ground and as a space for creative experimentation, low budget film and video production must be thought of as an economic and a cultural investment.
...So in effect, what we have in Australia is a separation of public and commercial by governments arts departments that unfortunately does not take into account the fact that the arts industry operates on a continuum...
The transforming role of local government. More enlightened attitudes towards art making are coming from all levels of government and from property developers and others - often at the urging of those various levels of government.
Ipswich City Council in Queensland is recruiting artists and designers from their large regional base and assisting them to create their own incomes through the work they are already trained to do.
Museums and larger arts spaces are increasingly looking at ways to improve access to their exhibitions for a wider range of people. Contemporary art spaces face a more difficult battle than museums in trying to become more relevant to their diverse communities.